The Living Colour guitarist talks about his latest project, an ongoing multimedia exploration of the many notions of Africa in popular culture. Artificial Afrika will be performed/shown during this year’s Winter Jazz Fest on Saturday, January 8 at Le Poisson Rouge at 6:15pm

In fact, I didn’t even know he was a TV writer, let alone someone recognized for their talent on award-winning shows. First, for a long time I thought he was another David Mills, who I knew from the Black Filmmaker Foundation days, but that wasn’t the case. No, what I knew about this David Mills was that he was a blogger, the creative force behind Undercover Black Man. We’d exchanged a few comments and added each other to our respective blogrolls. But that was about it. If I'd looked closer, I would've discovered that, prior to his TV career, he'd done a lot of music journalism.

When I was crowdsourcing the funding for my recent SXSW trip, out of nowhere he donated $500. Just like that. Humbling to say the least. That was the single biggest donation I received. In many ways, he was responsible for my ability to make it down to Austin this year.And I hardly knew the guy.

I thanked him for his generosity and this was his reply:

You're very welcome, Rob. You have turned me on to so much music, I felt a debt.

Keep on. I look forward to reading about SXSW.

DM

I certainly hope that he got a chance to read what I’d written, but the bigger lesson is the reminder that we never know who's life we're impacting when we do good and honest work.

Here's a glimpse at the 14-minute preview of Treme, which premieres on HBO on April 11:

Just came across this. Stanford University English professor Michele Elam offers a compelling talk that begins that explores the question, “What is the future of blackness?” Where does blackness stand in this post-racial, post-soul, multiracial era? She’s particularly concerned with the role of black studies departments, but I think her remarks have relevance beyond the halls of academia.

She talks about “troubling, worrying, stirring, blackness. Touching it and holding it up for examination.” Anyway, you’ll hear the exact quote directly from Elam that speaks to what I’ve cited, as post-modern blackness. And all this “troubling” of blackness is done in service of black people. Love that.

My only regret is that this video only captures the first 10 minutes of this talk. If anyone else has links to the rest of the presentation, please holla.

Hungarian Gypsy and Black American musicians will share the stage for Fire + Fire, an innovative production exploring the synergies between the Black diaspora and Hungarian Gypsies. Part of the yearlong Extremely Hungary festival, Fire + Fire is a collaborative performance that delves into the dual experiences of political oppression and musical expression of Black and Roma peoples in the U.S. and Hungary. Ensembles of performers from both cultures will meld their musical traditions—infused with jazz, rock, rap and folk influences—to create an experimental fusion incorporating dance, jam sessions, and spoken word.

Produced by the Hungarian Cultural Center in collaboration with noted essayist and cultural critic Greg Tate, Fire + Fire will feature an historic meeting of cultures and music, as nine Hungarian musicians and singers take the stage on traditional Gypsy instruments including cimbalom and violin, alongside seven Black American performers on instruments ranging from banjo to blues guitar to African drums.

In addition to music, the performance will also include contemporary and traditional Gypsy and Black dance. The end result is an unprecedented collaboration that explores experimental music and dance traditions rooted in each culture’s vernacular, contesting racism by revealing the commonality of seemingly disparate communities and genres.

“There are compelling parallels between the Gypsy and Black American experience,” said Tate, curator of Fire + Fire. “That energy and struggle is reflected in Black and Gypsy musical traditions—both are intense, explosive, individual and raw.”

Jakab Orsos, the director of the Hungarian Cultural Center, added, “Now is a crucial moment for Gypsies in Europe, as wide-spread discrimination and racism proliferates in Hungary. The synergy between the Gypsy and Black American musicians is electric. Both have mined musical strength from experiences of racism and political oppression.”

“They journey, we journey. They struggle, we struggle. They dance, we dance. We’re overcoming, they’ll overcome,” added Musical Director Melvin Gibbs, a New York composer, producer and bandleader celebrated for his work with a diverse range of artists.

Tickets are $30 in advance and $35 at the door. However, use promo code RAC102, and can get tickets for $15.

Comedy works best when it’s based on truth, and there’s a lot of truth in the Elon’s work. As you’ll see, Elon mentions Tim Wise in the This Week In Blackness episode above, which was shot last year. So I looked Tim up, and here’s a clip of what I found:

Powerful stuff, indeed. Great to see someone who’s white out there talking about and working to dismantle racism and the negative effects it has on everyone, not just Black folks.

Today, folks from all over the country are converging on Atlanta to kick off the National Black Arts Festival, a celebration of the culture of the African Diaspora, which has been in effect since 1988.

Here’s the description of the session, which will follow immediately after a screening of Barry’s film:

The Black rock and the Indie Imperative

Over the past few years, Black alternative music—broadly called Black rock or Afro-punk—has been gaining popularity within our community. This session explores how the cultural shift that is driving the acceptance of Black rock is also empowering and inspiring artists in other areas, particularly in film and literature.

Some questions I’m throwing out to the panel:

Alternative. Indie. Progressive. What do any of these terms mean to you?

What were the “indie” issues each of you are trying to explore and why?

One of the big ideas presented in the film is this idea of the frontier. What was it like for each of you to step out onto that frontier? More importantly, how have you gotten others to follow?

What’s the responsibility of artists/creators to ensure all of this matters in the marketplace?

What’s the responsibility of audiences?

I’m sure I’ll come up with some more questions between now and Saturday. But, what else do you think we should discuss? All suggestions welcome.

In the meantime, sincere thanks to program director Leatrice Ellzy for believing in this topic and including it in the Festival's agenda.

Maya Azucena is a woman of many talents: Singer, songwriter, producer, and now video host! You may recall from an earlier interview I did with her that she is fiercely committed to the creativity on her own terms. And she's been successful at it. So, it's no surprise that she teamed with ThisIsRealMusic.com to produce the series, Conversations with Indie, where she sits down with people to talk about various aspects of the life as an independent artist.

We sat down recently to talk about branding, the pros and cons of being "alternative" and why there's a need to for a "black rock evangelist."